The Blues – a Gateway Into Improvisation a Smithsonian Folkways Lesson Designed By: Terry Jones North Idaho College Summary: J
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Betty Jane Belanus
Betty J. Belanus 3504 21st Avenue North Arlington, VA 22207 202/633-6582 (w) 703/527-1813 (h) [email protected] or [email protected] Current Appointment 1993- Present Folklorist/Curator/Education Specialist, Smithsonian Institution Center for Folklife and Cultural Heritage Past Appointments 1990 – 1992 Adjunct Professor, University of Maryland/Baltimore County American Studies Department 1987 - 1990 Contract positions, Smithsonian Institution, Office of Folklife Programs 1984 – 1987 Education Assistant, Indianapolis Children’s Museum Co-Director, Materials at Hand, not-for-profit cultural organization 1982 -1984 Indiana State Folk Arts Coordinator, Indiana Arts Commission Education Indiana University, Ph.D. in Folklore (Minors: Anthropology and Educational Media), 1990 Indiana University, M.A. in Folklore, 1979 Smith College, B.A., in American Studies, Concentration History, 1977 Research Foci Material culture, traditional medicine and foodways research and presentation Folklore and Education research, training and publication Educational media and publication Mentorship of interns and fellows as future professionals 1 Curatorial Positions Programs for Smithsonian Folklife Festival Curated: 2017, “50th Anniversary Weekend” 2012, “Campus and Community” 2010, “Smithsonian Inside Out” 2009, “Wales Smithsonian Cymru” 2007, “Roots of Virginia Culture” 2004, “Water Ways: Mid-Atlantic Maritime” 1999, “New Hampshire Stories” 1997, “African Immigrants to Washington, DC” 1996, “Working at the Smithsonian” 1991, “Family Farming in the Heartland” -
Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
The Woody Guthrie Centennial Bibliography
LMU Librarian Publications & Presentations William H. Hannon Library 8-2014 The Woody Guthrie Centennial Bibliography Jeffrey Gatten Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/librarian_pubs Part of the Music Commons Repository Citation Gatten, Jeffrey, "The Woody Guthrie Centennial Bibliography" (2014). LMU Librarian Publications & Presentations. 91. https://digitalcommons.lmu.edu/librarian_pubs/91 This Article - On Campus Only is brought to you for free and open access by the William H. Hannon Library at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU Librarian Publications & Presentations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Popular Music and Society, 2014 Vol. 37, No. 4, 464–475, http://dx.doi.org/10.1080/03007766.2013.834749 The Woody Guthrie Centennial Bibliography Jeffrey N. Gatten This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten’s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English- language items of relevance related to, or written by, Guthrie. Introduction Woodrow Wilson Guthrie (1912–67) was a singer, musician, composer, author, artist, radio personality, columnist, activist, and philosopher. By now, most anyone with interest knows the shorthand version of his biography: refugee from the Oklahoma dust bowl, California radio show performer, New York City socialist, musical documentarian of the Northwest, merchant marine, and finally decline and death from Huntington’s chorea. -
Scanned Document
The Center for Folklife and Cultural Heritage Needs to Improve Its Financial Management Operations Office of the Inspector General Accounting Information Systems at the Center for Folklife and Cultural Heritage, Report Number A-11-09 September 28, 2012 Smithsonian Institution Office of the Inspector General The Center for Folklife and Cultural Heritage In Brief Needs to Improve Its Financial Management Operations, A-11-09, September 28, 2012 Why We Did This Audit What We Found We conducted this audit to We found that the Center for Folklife and Cultural Heritage assess whether the (CFCH) needs to increase oversight of the accounting accounting information information system that Smithsonian Folkways Recordings systems (1) reconcile to (Folkways) uses to capture sales, inventory, accounts receivable the Smithsonian’s data, and other financial information. We also determined that Enterprise Resource CFCH needs to improve management of the Festival Marketplace Planning system, (2) point of sale system, which is used to manage Festival provide management an Marketplace operations. In addition, we found that CFCH needs accurate view of Center for to improve segregation of duties and cross-train staff to perform Folklife and Cultural key financial tasks. Heritage’s (CFCH) business activities, and (3) can be CFCH’s ability to make sound business decisions is impaired improved to increase because the inventory and accounts receivable records are efficiencies. inaccurate. In addition, because information from these subsidiary ledgers is transferred to the Enterprise Resource Background Planning (ERP) system, the Smithsonian’s official accounting records, specifically inventory and accounts receivable, are also CFCH is a research and inaccurate. -
Smithsonian Folkways Recordings: a Question of Balance
Smithsonian Folkways Recordings: A Question of Balance D. A. Sonnebom How does a small record label, operating within a large museum setting, balance its educational mission's imperatives against economic need, a pair of priorities inherently in conflict? The following is a personal and reflexive view, affected in some measure by oral transmissions received from institutional elders but based always on my own experience. When I was a child, my home was filled with music from all over the world, including many releases from Folkways Records. Individually and as a collection, the music opened windows of my imagination and initiated a sense of curiosity and wonder about the experience and perception of others. The material ignited a musical passion that has proved lasting. I have served as Assistant Director of Smithsonian Folkways Recordings since 1998 and thus have had opportunity to live with the tensions of its "mission vs. operational needs" polarity, both to ask and try to answer the question on a daily basis. I offer this essay to readers in hopes that it may help demythologize and demystify the process whereby recordings of community-based traditions are promulgated from the setting of the United States national museum and into the increasingly globalized marketplace. The attacks on the World Trade Center and the Pentagon in September 2001 exacerbated an economic contraction already in progress in the U.S. and produced a precipitous drop in recording sales during that year's last few months. The North American music industry continued depressed in 2002, with sales down on average more than ten percent as compared to the prior year. -
Blues Legacy of Phil Wiggins | Smithsonian Folkways Magazine
Winter 2018 Blues Legacy of Phil Wiggins by Jeff Place When one thinks of country blues, the usual thought is of the music of the Mississippi Delta. While many wonderful blues men and women have come out of the Delta over the last century, there has been a wonderful parallel style that exists on the East Coast of the United States, “East Coast blues,” or more recently called “Piedmont Blues”. The Piedmont is a geographic region that exists up and down the East Coast between the coastal tidewater region and the Appalachian Mountains. It includes the cities of Atlanta, Charlotte, Washington, D.C. and Baltimore. In the twentieth century many African Americans left the racial climate of the south and moved north to eastern cities like Washington. There were defense jobs in Washington and Baltimore to be had. Some of the great early East Coast blues musicians were Blind Blake from Florida, Willie McTell from Atlanta, Blind Boy Fuller and Sonny Terry from Durham, and Brownie McGhee from Knoxville. Phil Wiggins was born in Washington, D.C. in May of 1954. There was music in the house, his father, a government worker with the Department of the Interior, played piano. The Piedmont blues scene has always been strong, and still is, around Washington. In the 9th grade he discovered the harmonica and shortly thereafter met his first musical partner, Flora Molton, a street evangelist who played on an F Street corner in the shopping district. He began to play harmonica with Molton. From 1972 to 1976, he accompanied Molton at the then Smithsonian Festival of American Folklife. -
“Northern Ireland at the Smithsonian”
“NORTHERN IRELAND AT THE SMITHSONIAN” REPORT ON PARTICIPATION IN THE 41ST SMITHSONIAN FOLKLIFE FESTIVAL, 2007 Report by Pat Wilson NI Project Manager Smithsonian Unit June 2008 1 CONTENTS Page EXECUTIVE SUMMARY 5 - 36 MAIN REPORT 37 -111 1. INTRODUCTION 38 The Smithsonian Folklife Festival 38 The Rediscover Northern Ireland Programme 38 2. BACKGROUND 40 Memorandum of Understanding 40 Financial Memorandum 41 Budget 42 3. DELIVERY STRUCTURES 45 Steering Groups 45 Leadership Group including VIPs 45 Coordinating Group 45 Curatorial Group 46 Administrative / Coordinating Team 46 4. LOGISTICS 50 Transportation and Freight 50 Flights 52 A c c ommodation 53 Insurance 54 5. COMMERCIAL ACTIVITIES 55 Marketplace 55 Food Concession 57 Folkways Recording 60 2 Sponsorship 61 6. COMMUNICATIONS 65 Marketing & Public Relations 65 Website 66 Media Handling 68 7. FESTIVAL 69 Political Support 69 Programming Logistics 70 Research 70 Themes for programme content 71 8 December 2006: reveal of outline programme 72 Administration 72 Issue of invitations, recording of acceptance and 73 associated consequentials Special events prior to attending the Festival 74 Receptions & Events in Washington DC 77 Opening Ceremony 79 8. POST FESTIVAL ACTIVITIES 82 Surveys and evaluation 82 Participants and sponsors’ feedback 82 Smithsonian Survey 82 DCAL survey of participants and sponsors 83 Conclusion of administration matters including 83 payments Capture and collation of research materials, 84 recordings and filmed materials 9. MONITORING AND MEASURING PERFORMANCE 84 3 10. CHALLENGES / LESSONS LEARNED 97/102 11. LEGACY OPPORTUNITIES 103 12. CONCLUSION 110 ACKNOWLEDGEMENTS I would like to thank our colleagues in the Smithsonian Institution, Richard Kurin, Diana Parker, Barbara Strickland and especially Nancy Groce who made it possible for Northern Ireland to demonstrate its cultural traditions on the National Mall at the annual Smithsonian Folklife Festival in 2007. -
Voices and Votes Films and Music
Voices and Votes Films and Music Filmography American Workers and Protest “At the River I Stand” (1993) Documentary; 1968 garbage workers strike “Harlan County U.S.A.” (1976) Documentary; This film documents the coal miners' strike against the Brookside Mine of the Eastover Mining Company in Harlan County, Kentucky in June, 1973. “Norma Rae” (1979) Drama; A young single mother and textile worker agrees to help unionize her mill despite the problems and dangers involved. “Salt of the Earth” (1954) Drama; Based on an actual strike against the Empire Zinc Mine in New Mexico, the film deals with the prejudice against the Mexican-American workers, who struck to attain wage parity with white workers. Civil Rights “A. Philip Randolph: For Jobs and Freedom” (1996) Documentary; A look at the life of the man often called the father of the modern civil rights movement. “Equal Means Equal” (2016) Documentary; A look at the ways women are still unequal to men in America and examination of the Equal Rights Amendment. “Eyes on the Prize” (1987-1990) Documentary; 14-part series tracing 1954 through 1985 “February One” (2003) Documentary; The story of the Greensboro Four sit-in at the Woolworth lunch counter in North Carolina. “I Am Not Your Negro” (2016) Documentary; The history of the black experience in America through the words of James Baldwin. “Intruder in the Dust” (1949) Drama; In 1940s Mississippi, two teenage boys and an elderly woman combine forces to prevent a miscarriage of justice and clear a black man of a murder charge. “Iron Jawed Angels” (2004) Drama; Focused on icons Alice Paul and the women of the Women’s Suffrage movement. -
Thank You for the Opportunity to Testify Before Your Subcommittee Today. on Behalf of the Entire Smithsonian Institution, We
Statement of Dr. David J. Skorton, Secretary of the Smithsonian Institution On the Fiscal Year 2017 Request Subcommittee on Interior, Environment and Related Agencies Committee on Appropriations, U.S. House of Representatives March 23, 2016 Thank you for the opportunity to testify before your subcommittee today. On behalf of the entire Smithsonian Institution, we appreciate the continued generous support of the Congress and your confidence in us to understand, preserve and tell the story of America. Your investment in the Smithsonian is an investment in advancing the civic, educational, scientific, and artistic life of our nation. This unique public-private partnership has worked well since the Smithsonian was founded in 1846. From care and display of the Star-Spangled Banner to research on the Zika virus, we take our obligation to the American people seriously and leverage federal dollars with private support to greatly expand and enhance our reach and capabilities. As a public trust, the Smithsonian addresses some of the world’s most complex issues, preserves many of our nation’s greatest treasures, educates and enlightens millions, conducts ground-breaking research, and uses new technologies to broaden access to information for the public, and for policy makers. In keeping with our mission, “the increase and diffusion of knowledge,” the Smithsonian is a world leader in research and discovery, addressing today’s relevant issues and helping the American people understand our role in the world through science. We are also leaders in understanding the human condition and adding meaning to life through the arts and humanities. In July, I was privileged to begin my tenure as the 13th Secretary of the Smithsonian. -
Recording Review of Lead Belly: the Smithsonian Folkways Collection
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works Spring 1-1-2015 Recording Review of Lead Belly: The mithsoniS an Folkways Collection Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2015. Recording Review of Lead Belly: The mithS sonian Folkways Collection. The Old-Time Herald. Vol.14(2). 47. ISSN: 1040-3582 This Review is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Recording Review of Lead Belly: The mithsoniS an Folkways Collection Copyright Statement © Ted Olson This review is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1168 Reviews Hitler) / Big Fat Woman / Been So Long from his recording career over three CDs (Bellevue Hospital Blues) as well as (in that set's 154-page 12" x 12" Lead Belly: The Smithsonian Folkways Collection hardcover book) samples of his idiosyn Disc Four: cratic prose writing and visual art. Since WNYC, Folk Songs of America (Grey Lead Belly is principally remembered Goose - Boll Weevil - Yellow Gal - Ha for his music, the newer Smithsonian Ha This a Way - Leaving Blues - Irene Folkways set commendably features a - outro) / WNYC, Folk Songs of America generous selection of recordings-108 in (Almost Day - Blues in My Kitchen, Blues all-made by Lead Belly for three labels In My Dining Room - I Went Up On the (Folkways, Stinson, and Disc) as well as Mountain - Good Morning Blues - Baby, for the Library of Congress; the set's five Don't You Love Me No More - T. -
SMITHSONIAN GLOBAL SOUND and APPLIED ETHNOMUSICOLOGY on the INTERNET David
ABSTRACT Title of Document: “ALAN LOMAX'S iPOD?”: SMITHSONIAN GLOBAL SOUND AND APPLIED ETHNOMUSICOLOGY ON THE INTERNET David Font, Master of Arts, 2007. Directed By: Jonathan Dueck, PhD School of Music The phenomenon of digital music on the Internet marks a turning point in the way human beings make, listen to, and share music. Smithsonian Global Sound is, variously: 1) a digital music download service; 2) the central hub of a network of digital music archives; and 3) the Internet branch of Smithsonian Folkways Recordings. Like all things vital, Smithsonian Global Sound is also developing rapidly. This thesis synthesizes a brief history of the Smithsonian Global Sound project, explores some of the vital issues related to the project, and offers a series of observations and recommendations for the project's development. Tracing the roots of Smithsonian Global Sound back to early archival efforts by music scholars, Moses Asch’s Folkways Records, the acquisition of the Folkways catalog by the Smithsonian, and the development and launch of Smithsonian Global Sound, the project is examined as a example of applied ethnomusicology on the Internet. “ALAN LOMAX'S iPOD?”: SMITHSONIAN GLOBAL SOUND AND APPLIED ETHNOMUSICOLOGY ON THE INTERNET By David Font. Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2007 Advisory Committee: Professor Jonathan Dueck, Chair Professor Atesh Sonneborn Professor Robert Provine Professor Lawrence Witzleben © Copyright by David Font 2007 Table of Contents 1. Introduction 1 2. The Trouble with the Internet 4 3. -
An Ethnomusicologist's Introduction to Washington
Volume 50, Number 3 Summer 2016 An Ethnomusicologist’s Introduction to Washington, DC. Anne Rasmussen, SEM President ummer Greetings SEM Colleagues! This article fol- and providing local arrangements for our robust confer- Slows two streams I introduced in my winter and spring ence. columns. First, I hope to stimulate awareness of the in- Immediately following our SEM Board Meeting (May tersections of academic and public ethnomusicology and, 13-14), the American Folklife Center (AFC) held its three- second, to stir up enthusiasm for our upcoming meeting day meeting for their Board of Trustees in the Madison in Washington, DC. My piece begins with a view into the Building of the Library of Congress (May 15-17). This is business of SEM as it transpires in the contemporary the second biannual meeting of the AFC that I have at- moment and leads to some reflection on the overlapping tended in my stead as SEM President and I want to take a histories and objectives of our organization with those of few paragraphs of my column to describe my experience. the American Folklife Center at the Library of Congress. Comprised of congressional appointees, presidential ap- I hosted the SEM Board meeting this May at the pointees, librarian appointees and ex-officio members like College of William and Mary’s Washington Center and I myself, being a “trustee” of the American Folklife Center want to first thank board members for their excellent spirit at the Library of Congress is an automatic gig for the SEM and collaborative productivity. We worked hard and we President.